In-depth looks at the merits of the latest albums

Rapid Fire Reviews (Rap Collabs, Kelly Clarkson)

On this collaborative project, two of Atlanta’s most genre-defining rappers come together to continue to assert their dominance over some good old-fashioned trap beats. Future’s straightforward approach and Young Thug’s quirky eccentricities are an interesting contrast that frequently sinks or swims as a result of the instrumental. Thug works well on Future’s hard-hitting beats, but Future has a harder time crossing over into Thug’s jovial and airy world. While the project seems rapidly thrown together at times, as there are some mixing issues present, it’s a lot of fun to hear these two superstars playing off of each other.

If nothing else, the project immediately reminds you just how punishingly hard Future can go as it drops into the first wailing siren and hi-hat roll of “No Cap”. It is one of the most disgustingly grimy instrumentals this year and producer Southside quickly brings us into his world. It’s the shortest track here and ends far too quickly, emphasizing the slapdash quality of the mixtape, but it’s an incredible shot of energy. Southside’s other two beats here, “Three” and the Offset-featuring “Patek Water” are equally impressive as he shows why is the most accomplished producer on the project.

Solo tracks here, especially Young Thug’s “Killed Before”, which is creatively built from a bass-heavy trap beat and a tropical acoustic guitar loop, are often better executed than the collaborations, as the two never quite click perfectly. Bringing together one of the most consistent and one of the most endlessly creative rappers doesn’t mesh, they are better excelling in their own lanes. At times, someone like Future sticks to his formula so much that a lower-effort project like this sees him becoming derivative as well. For two established hook men, you’d think there would be more sticky hooks here than there are – the project is more like a streamlined trap experience than clearly defined ideas. Of course, there are bound to be more than a few incredibly fun moments in that experience, and the project is still a necessary listen for a trap fan despite its shortcomings.

Favourite Tracks: Three, Patek Water, Killed Before, No Cap

Least Favourite Track: 200

Score: 6/10

Kelly Clarkson – Meaning Of Life

Kelly Clarkson, now on her eighth studio album and under a new label, has been speaking recently of her desire to return to her American Idol roots, straying from her pure pop sound and coming back to the realm of R&B/soul music. She certainly has the voice to do so, and Meaning Of Life has become one of the biggest surprises of the year for me. Despite the first third of the album being standard pop fare that fails to excite (why does a singer of this caliber deliver a lead single in “Love So Soft” where she stays on a single note?) we soon get into Clarkson’s incredible passion projects as the album continues to get better and better through the middle.

The album doesn’t pick up until “Whole Lotta Woman”, a confident and sassy half-rapped track reminiscent of Bruno Mars’ 24k Magic. But Clarkson’s true power comes in tracks like “Medicine”, “Cruel” and “I Don’t Think About You”, where she gets to show off her technical ability and R&B sensibilities. “Cruel” especially stands out as an old-school R&B track where Clarkson demonstrates some incredible range and more soul than we’ve heard from her in years. Her reassertion of that incredible chorus an octave higher over the groove of the funk bassline shows some serious emotion as well. Her voice is dynamic and capable, running through whistle tones, more subdued and sensual tracks like “Slow Dance” and the full-voiced belt that comes up on the more upbeat piano jams and huge ballads. Clarkson compared “Medicine” to Mariah Carey’s “Emotions” and dedicated the album to Aretha Franklin – these are the lofty vocal aspirations she has here, and for the most part, she delivers.

“I Don’t Think About You” is an incredibly powerful track as the instrumental is reduced to just piano chords, directing all the focus to Clarkson’s vocals. As she sings about her newfound confidence and happiness in the wake of a destructive relationship and throws some gospel harmonies on top, we build into a chorus where she progressively hits higher and higher notes at a crucial point to spine-tingling effect. The ordering of the album is slightly concerning, opening and closing with its safest tracks and misguided political angle on “Go High”, but Clarkson’s new soulful tone is a very welcome surprise and should introduce the singer to an exciting new chapter in her storied career.

21 Savage and Migos’ Offset team up with top tier trap producer Metro Boomin to deliver a horror movie-inspired project on Halloween. It’s almost impossible not to compare it to SUPER SLIMEY, but Without Warning is a much more well planned out and unique project, as Metro Boomin continues to be the only man keeping trap fresh with his constant reinventions and the diametrically opposed styles of Offset and 21 Savage complement each other surprisingly well. Where Offset brings out complex flows and those goofy ad-libs we know and love, 21 Savage’s menacing deadpan gets straight to the point. While 21 can frequently get annoyingly monotone, his ruthless and desensitized lyrics and persona are right at home over Metro Boomin’s eerie sounds here, especially with someone like Offset to play off of.

One of the best things about this project is that it clearly is not a throwaway mixtape – the transitions here are incredibly well-executed, especially as “Nightmare” is introduced by 21 closing the preceding track by repeating “It’s a nightmare on elm street”. Metro Boomin’s work here is chilling, as wolves howl in the background and he programs his synths to sound like the wind whistling through the trees or the unsettling ambiance of a horror film. Adding his trademark hi-hats makes these beats exhilarating – On “Run Up The Racks” he extends a hi-hat roll longer than I’ve ever heard, nicely accentuating 21’s simpler flows on his solo track.

While 21 is so far into his character it becomes almost hilarious, Offset displays a side of himself here we don’t really see with Migos – while it was always clear that he’s the most technically skilled of the group, his flow switches and speedy deliver here is seriously impressive. “Ric Flair Drip” is the solo track that shows he could be just as much of a superstar as Quavo, while “Mad Stalkers” shows the best contrast between the two. 21 comes in with the hook after a particularly speedy string of syllables and metaphors from Offset, not mincing his words and issuing threats in that inhuman drawl. If Offset is the Joker, 21 Savage is Bane. The combination is deadly.